JOSH: The small & beloved WHAT BAR is having its annual “holy shit we’re still here!” shindig over the October holiday, which will be a tense one given the whole massive international conflict/major power transition about to go down things that are making Beijing a tense place to be these days even if you’re not posted up literally right next to the nation’s military & political headquarters. How’s that for a run-on sentence!
pangbianr celebrates on Oct 1 w/ some of them old familiar sounds:
PANGBIANR: pangbianr presents: an international lo-fi noise mixer to put the “pan” back in pan-Pacific. Two nights, two venues, two visitors from down under:
This is a guest contribution from Australian music writer Bob Blunt. Bob has been based in Beijing for more than 2 years. Prior to that he published Blunt: A Biased History of Australian Rock.
P.K.14 live in Texas (image courtesy Charles Saliba/Maybe Mars)
If 2010 on a local front seemed a quiet year for the P.K.14 camp with just 3-4 shows, then there sure was some momentum built abroad. The band very much became internationalists last year with welcomed invitations to two internationally renowned music festivals: South by Southwest in March in Texas USA, and the Melbourne Festival in Australia in October. As we all know, part of supposedly cutting your teeth on the global stage requires being hauled into a festival or two, alongside bands from all over the world, and if that means getting a chance to heat the boards for Low from the States, or The Drones from Australia, it’s an invitation to not shrug your shoulders at. I reflected about that and other stuff with the band’s front person Yang Haisong over a coffee recently.
In a recent City Weekend blurb, Blake Stone-Banks — the magazine’s former nightlife editor — articulates a phenomenon that has been flitting around my brain for about a year now. That’s Beijing’s “electro underground,” and its aesthetic overlap with experimental music.
[Let me first state for the record that I acknowledge there are no genre labels less precise than “electronic music” and “experimental music.” For the sake of this article let’s say electronic music is anything that has a beat not produced by a live drummer and experimental music is… fuck it, that phrase is meaningless.]
Part 1 第一部分：
Li Jianhong Solo (20-30 min) / 李剑鸿个人 (20-30分钟)
Li Zenghui + VAVABOND (20-30min) / 李增辉 + VAVABOND (20-30分钟)
Part 2 第二部分：
Mind Fiber (Li Jianhong, VAVABOND, Li Zenghui) (20-30min) / (李剑鸿 + VAVABOND + 李增辉) (20-30分钟)
ticket 门票：40元 (students 30 / 学生30)
location: SW corner of Di’anmen West st / East st / Inner St / Outer st, behind Qiu Li Hong (秋栗香) roasted chesnut stand
Carsick Cars - She will Wait (lo-fi/shoegaze/beijing rock)
From the 2011 Pangbianr-released Cassette Single
PANGBIANR: pangbianr underground b-sides: Vol II
full info 更多信息: http://pangbianr.com/underground-b-sides-2
The mid-to-late 90s saw a huge influx of Western music in the form of 打口 (da kou): surplus cassettes and CDs with chunks cut out, presumably destined for third-world dumps. These articles of capitalist excess were sloughed off by Western labels as a cost-cutting measure, “gashed with a saw to prevent resale.” They nonetheless spawned a thriving black market in China, prompting Deng-era entrepreneur types to stock Nirvana, Metallica, The Cure, Joy Division, and other Western alt staples in unsorted piles nationwide.–